Jesus Christ Superstar (musical)
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Jesus Christ Superstar
Paese USA
Anno 1970
Compagnia Broadway
Genere musical, drammatico, religioso
Jesus Christ Superstar è un’opera rock composta da Andrew Lloyd Webber con testi di Tim Rice.

Si ispira alle vicende dell’ultima settimana della vita di Gesù (l’ingresso a Gerusalemme, il processo, la condanna a morte e la crocifissione) narrate dalla prospettiva originale del punto di vista di Giuda Iscariota, rappresentando il conflitto umano e ideologico tra i due personaggi.

Dall’opera venne tratto il film Jesus Christ Superstar del 1973.

Indice [nascondi]
1 Disco
2 Teatro
3 Personaggi Principali
4 Polemiche
5 Premi
5.1 Candidature ai Tony Award 1972
5.2 Theater World Award 1972
5.3 Drama Desk Awards 1972
5.4 Candidature ai Tony Award 2000
6 Note
7 Altri progetti
Disco[modifica | modifica wikitesto]
Jesus Christ Superstar nasce come doppio album nel 1970, con interpreti principali Ian Gillan nel ruolo di Gesù, Murray Head nel ruolo di Giuda, Yvonne Elliman nel ruolo di Maria Maddalena, ruolo che sostenne anche nella trasposizione cinematografica del 1973, ad opera del regista Norman Jewison, John Gustafson come Simone il Cananeo e Barry Dennen come Ponzio Pilato.

L’album raggiunge la prima posizione nella Billboard 200 per tre settimane vincendo il disco d’oro, la terza in Norvegia, la quarta in Austria e la decima in Olanda.

Teatro[modifica | modifica wikitesto]
Il 12 ottobre 1971 Jesus Christ Superstar fu rappresentato per la prima volta a Broadway, dove rimase in scena per 18 mesi. La produzione teatrale nel West End londinese del 1972 ebbe un enorme successo: replicata per otto anni, diventò allora il musical rappresentato continuativamente più a lungo a Londra.

L’opera continuò a essere rappresentata per tutti gli anni settanta fino al 1980. Venne in seguito ripresa nel 1992 con Ted Neeley e Carl Anderson nei ruoli rispettivamente di Gesù e Giuda, gli stessi che avevano interpretato anni prima nella versione cinematografica dell’opera. Sempre nella stessa produzione apparvero Dennis DeYoung e James O’Neil nel ruolo di Ponzio Pilato e Syreeta, Irene Cara e Christine Rea nel ruolo di Maria Maddalena. Lo spettacolo, originariamente pensato per durare qualche mese, si protrasse per cinque anni.

Seguirono altre produzioni di Jesus Christ Superstar in tutto il mondo e l’opera continua a essere messa in scena.

Personaggi Principali[modifica | modifica wikitesto]
dPersonaggio Registro vocale Descrizione
Gesù Tenore Protagonista del musical; maestro dei dodici apostoli, figlio di Dio, Messia, Re dei Giudei
Giuda Iscariota Tenore Uno dei dodici apostoli di Gesù, timoroso della fama del maestro
Maria Maddalena Mezzosoprano Seguace di Gesù, innamorata di lui
Ponzio Pilato Baritono Governatore romano in Palestina che condanna Gesù alla crocifissione
Caifa Basso Sommo Sacerdote, nemico di Gesù
Anna Contraltista Importante Sacerdote, cognato di Caifa
San Pietro Apostolo Baritono Uno dei dodici apostoli di Gesù
Simone lo Zelota Tenore Uno dei dodici apostoli di Gesù
Erode Antipa Tenore Depravato re dei giudei
Polemiche[modifica | modifica wikitesto]
Al tempo della sua uscita l’opera destò numerose polemiche, soprattutto per l’impostazione non convenzionale con cui vengono sviluppati i personaggi e la storia. La divinità di Gesù non è data per scontata, ma posta in dubbio dalle parole di Giuda, che nel brano Heaven On Their Minds (Il Paradiso nella mente) canta: «You really do believe this talk of God is true?» («Credi veramente che queste voci su Dio siano vere?»)[1]. La figura di Maria Maddalena è rappresentata come palesemente innamorata di Gesù nel brano I don’t know how to love him (Non so come amarlo)[2]. La rappresentazione della folla che incita alla crocifissione fu criticata come antisemita da alcuni esponenti ebraici[3][4]. Infine nell’opera manca qualsiasi accenno alla risurrezione di Gesù.

Sorsero proteste da parte di diversi gruppi fondamentalisti cristiani e ebraici, che in alcuni casi costrinsero a sospendere le rappresentazioni, come ad esempio in Sudafrica[5].

Al pari di altre opere di Lloyd Webber, Jesus Christ Superstar fu criticata da alcuni compositori, quali ad esempio Louis Andriessen, Bill Drummond e Michael John LaChiusa, che accusarono l’autore di avere, in maniera troppo evidente, attinto ad atmosfere e riferimenti di opere di artisti classici.

Premi[modifica | modifica wikitesto]
Candidature ai Tony Award 1972[modifica | modifica wikitesto]
migliore colonna sonora originale: Andrew Lloyd Webber e Tim Rice
migliore attore in un musical: Ben Vereen
migliore scenografia: Robin Wagner
migliori costumi: Randy Barcelo
migliori luci: Jules Fisher
Theater World Award 1972[modifica | modifica wikitesto]
Vincitore: Ben Vereen
Drama Desk Awards 1972[modifica | modifica wikitesto]
Migliore compositore esordiente: Andrew Lloyd Webber
Candidature ai Tony Award 2000[modifica | modifica wikitesto]
Migliore revival

Jesus Christ Superstar (film)
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Jesus Christ Superstar
Jesus.png
Titolo di testa del film
Titolo originale Jesus Christ Superstar
Paese di produzione USA
Anno 1973
Durata 108 min
Colore colore
Audio sonoro
Genere drammatico, biblico, musical
Regia Norman Jewison
Soggetto Tim Rice (musical)
Sceneggiatura Norman Jewison, Melvyn Bragg
Produttore Norman Jewison, Patrick J. Palmer, Robert Stigwood
Fotografia Douglas Slocombe
Montaggio Antony Gibbs
Musiche Andrew Lloyd Webber
Scenografia Richard Mcdonald
Interpreti e personaggi
Ted Neeley: Gesù Cristo
Carl Anderson: Giuda Iscariota
Yvonne Elliman: Maria Maddalena
Barry Dennen: Ponzio Pilato
Bob Bingham: Caifa
Larry Marshall: Simone Zelota
Josh Mostel: Re Erode
Kurt Yaghjian: Anna
Paul Thomas: Pietro
Premi
1 David di Donatello 1974: miglior film straniero
Jesus Christ Superstar è un film del 1973 diretto da Norman Jewison, trasposizione sul grande schermo del musical omonimo di Tim Rice, autore dei testi, e Andrew Lloyd Webber, autore della musica. L’opera narra l’ultima settimana della vita di Cristo prima della morte per crocifissione.

Per la loro interpretazione, rispettivamente di Gesù e Giuda, Ted Neeley e Carl Anderson sono stati candidati al Golden Globe nel 1974.

Indice [nascondi]
1 L’opera
2 Trama
3 Produzione
4 Colonna sonora
5 Reazioni
6 Voci correlate
L’opera[modifica | modifica wikitesto]
Gli ultimi sette giorni della vita di Gesù sono messi in scena, sotto forma di musical, da un gruppo di hippie e narrati dalla prospettiva originale del punto di vista di Giuda. Monopolizzano la scena tre personaggi: Gesù, rappresentato come una figura che ha molto di umano e poco o nulla di divino, e che manifesta di fronte alla morte i dubbi e la paura tipicamente umani; Giuda Iscariota, figura cardine della narrazione, vero protagonista del film, razionale e coerente, non traditore, ma vittima suo malgrado, come il suo maestro, di un disegno del destino più grande di lui; Maria Maddalena, la femminilità più dolce, investita da un amore che non sa comprendere. Come nell’opera teatrale, non compare Maria (madre di Gesù) e Gesù non compie miracoli, fatto ancora unico in un film sulla vita di Cristo.

A differenza di altre trasposizioni cinematografiche di musical, Jesus Christ Superstar è interamente cantato, senza dialoghi parlati.

Trama[modifica | modifica wikitesto]
Overture
Un gruppo di attori arrivano in pullman con l’obiettivo di interpretare Jesus Christ Superstar. Gli attori scaricano il materiale dal pulmino e cominciano a prepararsi, accompagnati dai temi musicali che ritroveremo lungo il film. L’ultimo a prepararsi è Gesù, mentre Giuda si allontana preoccupato.

Heaven On Their Minds [Il paradiso nella loro mente]
Giuda teme la piega che stanno prendendo gli eventi: lo preoccupa la popolarità di Gesù che, ormai considerato come un dio, sta perdendo di vista gli obiettivi primari. Giuda ritiene che in un paese occupato da una forza straniera il fanatismo possa ritorcesi contro di loro e che i Romani possano annichilirli, se dovessero subodorare una rivolta.

What’s The Buzz [Cosa sta succedendo?]
I discepoli sono in fermento: assillano Gesù di domande su quello che sta succedendo, su quando andranno nella capitale Gerusalemme, su come e quando inizieranno ad agire. Essi non capiscono che l’orizzonte degli eventi è più ampio, che il disegno perseguito da Gesù non contempla lo scontro e che al momento l’unica cosa di cui egli ha bisogno è un po’ di riposo. Maria Maddalena, affascinata dal Messia, si offre di dargli ristoro, rinfrescandogli fronte e piedi, mettendosi totalmente al suo servizio.

Strange Thing Mystifying [Qualcosa che non mi convince]
A questo punto interviene Giuda: accusa Gesù per la sua condotta, affermando che un uomo della sua levatura morale non può perdere tempo con donne del genere e che non conviene alla loro causa che egli si faccia vedere in giro con una prostituta qual è Maria Maddalena. Gesù lo interrompe bruscamente, prendendo le difese della donna che da quel momento è sotto la sua protezione.

Then We Are Decided [Allora siamo d’accordo]
I Sommi sacerdoti Anna e Caifa sono preoccupati per la crescente popolarità di Gesù: temono che il loro potere venga meno e che la casta sacerdotale perda influenza sul popolo, il quale potrebbe acclamare Gesù loro re, provocare la reazione dei Romani e la conseguente perdita dei loro privilegi. I due decidono la sorte ultima di Gesù, l’inevitabile morte, e si accingono a comunicarla al resto del Sinedrio. Il brano non figura nell’opera rock e fu aggiunto per il film.

Everything’s Alright [Va tutto bene]
Maria Maddalena è sempre più presa da Gesù, lo assiste, lo ristora, lo massaggia con preziosi unguenti, ma è ripresa da Giuda che le fa notare che i soldi spesi per gli olii profumati avrebbero potuto essere usati per altre più utili cause, o donati ai poveri. Gesù difende ancora Maria Maddalena e ribatte che non è possibile salvare il mondo in quel modo: ci saranno sempre i poveri, mentre bisogna approfittare finché egli è presente, perché presto non ci sarà più.

This Jesus Must Die [Questo Gesù deve morire]
Il Sinedrio si riunisce e, sotto le pressioni e le arringhe di Anna e Caifa, decide di far fare a Gesù la stessa fine di Giovanni il Battista: la morte.

Hosanna
Gesù arriva a Gerusalemme e viene accolto trionfalmente dalla povera popolazione oppressa. Caifa intima a Gesù di disperdere la folla o la sederà come se fosse una rivolta. Gesù replica che è una manifestazione spontanea e inevitabile al punto che, se anche loro smettessero, le rocce e i sassi comincerebbero a cantare.

Simon Zealotes/Poor Jerusalem [Simone lo zelota/Povera Gerusalemme]
L’apostolo Simone Zelota è il più infiammato del gruppo e, circondato dai suoi seguaci, declama la sua ammirazione per Gesù, dichiarandosi pronto ad agire. Il gruppo si sente forte e numeroso, abbastanza per respingere una volta per tutte l’occupazione di Roma. Ma Gesù rifiuta questa lettura della sua missione e ricorda che non è lo scontro il suo vero intento: ribalta il concetto di potere e gloria e tenta di spiegare che solamente attraverso il sacrificio si vince sulla morte stessa.

Pilate’s Dream [Il sogno di Pilato]
Nello stesso tempo Ponzio Pilato sta riflettendo su un sogno premonitore, denso di significati, che ha fatto riguardo all’incontro con un enigmatico galileo.

The Temple [Il tempio]
Gesù e i Dodici arrivano al tempio e lo scoprono ridotto a un covo di ladri, di mercanti senza scrupoli e di prostitute: si rendono conto del degrado della loro civiltà e della perdita dei valori religiosi. Gesù caccia i mercanti dal tempio, distruggendo tutto quello che trova. Sconsolato si allontana pensieroso, ma finisce in una zona ancora più degradata, riservata ai lebbrosi che lo sommergono nel tentativo, toccandolo, di ottenere una guarigione miracolosa.

I Don’t Know How To Love Him [Non so come amarlo]
Più tardi la stessa, sera Maria Maddalena riesce a placarlo e confortarlo. Invaghitasi perdutamente di Gesù, non sa come comportarsi con lui.

Damned For All Time/Blood Money [Dannato per l’eternità/Denaro di sangue]
Giuda è in preda ai dubbi: dal suo punto di vista Gesù ha perso il controllo della situazione e ha smarrito gli obiettivi iniziali; teme che i Romani stiano per reprimerli con la violenza e pensa che rivolgersi alle alte cariche Giudee per un consiglio sia la cosa giusta da fare. Espone la questione ai Sommi Sacerdoti, i quali lo convincono che effettivamente Gesù è fuori controllo e va arrestato anche per il suo stesso bene e la sua incolumità. Il Sinedrio gli offre un sacchetto con 30 denari: Giuda inizialmente rifiuta, ma si fa convincere a usarlo per i poveri, come è nella sua indole altruista. Giuda accetta di consegnare Gesù, al quale gli assicurano non sarà torto un capello: rivela che giovedì sera lo potranno trovare, da solo, nel giardino di Getsemani.

The Last Supper [L’ultima cena]
All’inizio della scena, per un breve istante, il gruppo di Gesù e dei Discepoli si immobilizza riproducendo l’affresco dell’Ultima Cena di Leonardo da Vinci. Durante l’Ultima cena Gesù rivela che Pietro lo rinnegherà per tre volte e che qualcuno lo tradirà. Giuda lascia la tavolata e si scontra verbalmente con Gesù: in preda alla disperazione, gli ricorda che è stato il suo primo seguace e che si è sempre considerato il suo braccio destro, ma gli confida che da quando gli eventi sono precipitati non riesce più a capirlo. Non si capacita di come a Gesù possa essere sfuggita di mano la situazione e lo implora di ritornare sui suoi passi per la sua stessa incolumità. Gesù gli intima di raggiungere coloro che lo stanno aspettando. Mentre fissa il suo primo discepolo che si allontana correndo, il volto di Gesù all’inizio è sprezzante, ma improvvisamente diventa sofferente, malinconico, addolorato.

Gethsemane/I Only Want To Say [Getsemani/Voglio solo dire]
Mentre gli Apostoli dormono, Gesù prega nell’orto degli ulivi, dà sfogo ai suoi dubbi e interroga Dio sul senso della sua morte imminente, che la sua umanità rifiuta; alla fine comprende il disegno divino e accetta il suo destino.

The Arrest [L’arresto]
L’epilogo inizia: Giuda bacia Gesù, affinché le guardie lo possano riconoscere. Gli apostoli cercano di opporre resistenza, ma Gesù li trattiene dicendo che il loro sodalizio è sciolto e che la cosa riguarda solo lui. Gesù è condotto dai Sommi Sacerdoti, giudicato bestemmiatore e blasfemo e quindi inviato all’autorità romana, da Pilato.

Peter’s Denial [Il rinnegamento di Pietro]
Nel frattempo Pietro, fermatosi a bere dell’acqua insieme alla Maddalena, rinnega Gesù per tre volte come gli era stato premonizzato.

Pilate and Christ [Pilato e Cristo]
Gesù si presenta all’udienza con Pilato, che apparentemente non lo riconosce come l’uomo del sogno e sentenzia che Gesù, in quanto galileo, deve essere giudicato da Erode.

King Herod’s Song [La canzone di re Erode]
L’eccentrico Erode, che vive in un party perpetuo circondato dai suoi cortigiani, è ansioso di conoscere il divo (star) del momento. Lo incontra e con un certo dileggio gli chiede invano di mostrare alcune delle sue “magie da baraccone” per cui è molto famoso. Gesù rimane inerte e Erode lo caccia via deluso, ritenendolo un personaggio insignificante e tutt’altro che divino.

Could We Start Again, Please? [Potremmo cominciare daccapo, per favore?]
Gli apostoli, con in testa Maria Maddalena, non sono convinti che tutto stia tragicamente volgendo al termine. Ricordano gli inizi e rimpiangono che la situazione sia sfuggita così tanto di mano a Gesù: vorrebbero ricominciare, riportare tutto com’era prima.

Judas’ Death [La morte di Giuda]
Giuda capisce che Gesù, segregato, è ormai travolto dagli eventi e si reca dai Sommi Sacerdoti a protestare per il trattamento riservato a Gesù. Le cose non stanno andando come Anna e Caifa gli avevano prospettato: Gesù di lì a poco farà una brutta fine e la gente per sempre si ricorderà di lui come “il traditore”, dimenticando i suoi intenti e sentimenti per il suo amico Gesù. Giuda, rendendosi conto di essere stato usato dai Sacerdoti, getta via i denari; sprofondato nella disperazione, si impicca.

The Trial Before Pilate/39 Lashes [Il processo davanti a Pilato/39 frustate]
Gesù è nuovamente portato da Pilato e presentato come colpevole. Il prefetto romano pensa che Gesù sia uscito di senno: l’imputato non fa nulla per scagionarsi, pur non avendo commesso alcun crimine, mentre il “furor di popolo” lo vuole crocifisso. Pilato, per tentare di placare la sete di rivalsa della folla, lo sottopone alla pena corporale delle frustate. Ma la folla, sobillata dal Sinedrio, reclama con acredine la pena di morte e Pilato, preoccupato di possibili malcontenti e sommosse, ma anche a causa della rassegnazione di Gesù, lo condanna, suo malgrado, a morte, dichiarandosi innocente del suo sangue.

Superstar
Dopo la condanna a morte lo spirito di Giuda scende dal cielo vestito di bianco: domanda a Gesù se veramente ne valesse la pena e come sarebbero andate le cose, se fosse venuto al giorno d’oggi invece che 2000 anni fa, quando i mass media non esistevano. Giuda continua dicendo a Gesù che alla fine forse aveva ragione lui: la situazione gli era sfuggita di mano, Gesù forse aveva peccato di protagonismo e in fin dei conti la cosa poteva essere condotta in altro modo. Giuda chiede a Gesù se non sia stata la fine truculenta ad avergli permesso di essere ricordato per sempre e aggiunge che la religione non c’entra: anche le altre religioni in fin dei conti hanno le proprie ragioni e il suo Dio non è l’unico al mondo.

The Crucifixion [La crocifissione]
Gesù è crocifisso e, pronunciate le sue ultime parole, china la testa e spira. Il cast al completo fa le valigie e risale sul pullman: ciascuno, sconsolato, getta il suo ultimo sguardo al Cristo crocifisso. L’ultimo a salire è l’attore che ha impersonato Giuda, che non riesce a distogliere lo sguardo dalla croce: mentre il motore si accende e il pullman parte, è l’ultimo a rassegnarsi.

John Nineteen: Fourty-One [Giovanni 19,41]
All’orizzonte, al tramonto, vediamo la croce di Gesù, mentre un pastore con le pecore passa sullo sfondo. Cristo è morto, ma il suo messaggio non si è perso.

Produzione[modifica | modifica wikitesto]
Il film è stato girato in Israele, principalmente presso le rovine di Avdat nel deserto del Negev, e in altre zone del Medio Oriente. Le rovine in cui sono ambientate le scene di Anna e Caifa sono quelle del palazzo originale dei Sommi Sacerdoti: le impalcature furono trovate in loco dalla troupe e lasciate per scelta registica. La location dell’ultima cena fu scelta e affittata un anno prima delle riprese. La produzione pagò un abitante del luogo perché coltivasse quel pezzo di terra per fare in modo che al tempo delle riprese ci fosse un prato circondato dal deserto.

I versi di alcune canzoni furono modificati nella trasposizione cinematografica, rispetto a quella teatrale, per rendere il film più accettabile:

nel brano The Temple, quando Gesù si trova in mezzo ai lebbrosi, l’esclamazione «Heal yourselves!» (Guaritevi da soli!) è diventata «Leave me alone!» (Lasciatemi solo!)
nel brano Trial Before Pilate, il verso «There may be a kingdom for me somewhere, if I only knew» («Ci potrebbe essere un regno per me da qualche parte, se solo lo sapessi») è diventato «If you only knew» (Se solo voi lo sapeste)
nel brano Judas’ Death, il verso «What you have done will be the saving of Israel» (Quello che hai fatto sarà la salvezza di Israele) è diventato «… the saving of everyone» (… la salvezza di tutti).
Il pastore che compare alla fine del film fu frutto di una pura combinazione: durante le riprese il regista non si accorse nemmeno della sua presenza e lo notò solo in fase di montaggio. Ritenendola un’immagine molto ad effetto, la mantenne. I jet che sfrecciano in cielo subito dopo che Giuda accetta di tradire Gesù appartengono all’aeronautica militare israeliana. Norman Jewison chiese un permesso speciale al governo israeliano e ottenne che due piccoli caccia da addestramento del tipo su licenza Fouga Magister passassero sopra la zona delle riprese: il regista ebbe a propria disposizione un solo ciak. L’esercito israeliano, che in quegli anni era sempre in allarme per le molto probabili guerre contro i paesi arabi limitrofi, per un’altra scena con Giuda fornì anche cinque carri armati del tipo Centurion.

Colonna sonora[modifica | modifica wikitesto]
La colonna sonora del film fu pubblicata in vinile dalla MCA Records nel 1973. La versione in CD fu pubblicata nel 1993 e nel 1998.

Lato uno

Overture – 5:26
Heaven on Their Minds – 4:22
What’s the Buzz? – 2:30
Strange Things Mystifying – 1:50
Then We Are Decided – 2:32
Everything’s Alright – 3:36
This Jesus Must Die – 3:45
Lato due

Hosanna – 2:32
Simon Zealotes – 4:28
Poor Jerusalem – 1:36
Pilate’s Dream – 1:45
The Temple – 5:26
I Don’t Know How to Love Him – 3:55
Damned for All Time / Blood Money – 4:37
Lato tre

The Last Supper – 7:12
Gethsemane (I Only Want to Say) – 5:39
The Arrest – 3:15
Peter’s Denial – 1:26
Pilate & Christ – 2:57
King Herod Song – 3:13
Lato quattro

Could We Start Again, Please? – 2:44
Judas Death – 4:38
Trial Before Pilate – 7:47
Superstar – 3:56
Crucifixion – 2:40
John Nineteen: Forty-One – 2:20
Reazioni[modifica | modifica wikitesto]
Prima di essere distribuito in Italia, il film fu sottoposto al vaglio dell’Osservatore Romano. Considerato blasfemo dall’opinione pubblica italiana, perché accosta i Vangeli con la cultura hippie, riscosse immediato consenso sia di laici che di religiosi. Mina promosse Everything’s alright impersonando lei stessa Maddalena in coppia con Sammy Barbot (che impersonava Giuda) nel varietà televisivo Milleluci.

Jesus Christ Superstar
From Wikipedia, the free encyclopedia
This article is about the musical production. For the 1973 film, see Jesus Christ Superstar (film). For the rock opera album, see Jesus Christ Superstar (album). For other uses, see Jesus Christ Superstar (disambiguation).
Jesus Christ Superstar
Jcs us cover.png
Album cover for the 1970 American release of Jesus Christ Superstar
Music Andrew Lloyd Webber
Lyrics Tim Rice
Book Tim Rice
Basis Passion of Christ
Productions
1970 Concept album
1971 Broadway
1972 Sydney
1972 Paris
1972 West End
1973 film
1974 Mexico City
1977 Broadway
1992 Australian Tour
1996 West End
1998 UK Tour
2000 Broadway revival
2001 Mexico City
2001 UK Tour
2002 North Vernon
2003 US Tour
2004 UK Tour
2005 Netherlands
2011 Stratford
2011 San Diego
2011 Lahti
2012 Broadway revival
2012 UK Arena Tour
2013 Australian Arena Tour
2013 UK Arena Tour
2014 São Paulo
Jesus Christ Superstar is a 1970 rock opera, whose music was composed by Andrew Lloyd Webber and whose book and lyrics were written by Tim Rice. The musical started as a rock opera concept recording before its first staging on Broadway in 1971. The musical is loosely based on the Gospels’s accounts of the last week of Jesus’s life, beginning with the preparation for the arrival of Jesus and his disciples in Jerusalem and ending with the crucifixion. It highlights political and interpersonal struggles between Judas of Carioth and Jesus, struggles that are not in the Bible narratives. The resurrection is not included. It therefore largely follows the form of a traditional passion play.

The work’s depiction offers a free interpretation of the psychology of Jesus and the other characters. A large part of the plot focuses on the character of the Iscariot (native of Carioth, Judea) Judas, who is depicted as a tragic figure dissatisfied with the direction in which Jesus steers his disciples. Contemporary attitudes and sensibilities, as well as slang, pervade the lyrics, and ironic allusions to modern life are scattered throughout the depiction of political events. Stage and film productions accordingly feature many intentional anachronisms.

Contents [hide]
1 Plot
1.1 Act I
1.2 Act II
2 Principal roles
3 Musical numbers
4 From album to Broadway
4.1 Early unauthorized community productions
4.2 First authorized concert productions
4.3 Original Broadway production
4.4 Controversy
4.5 Other 1970s productions
4.6 1980s productions
4.7 1990s productions
4.8 2000s productions
4.9 2010s productions
4.10 Other international productions
4.11 Other recordings and broadcasts
5 Films
6 Awards and nominations
6.1 Original Broadway production
6.2 1996 London revival
6.3 2000 Broadway revival
6.4 2011 Stratford Shakespeare Festival / 2012 Broadway revival
7 References
8 External links
Plot[edit]
Act I[edit]
After a foreboding instrumental opening number(the “Overture”), the apostle Judas Iscariot expresses in a musical monologue his concern over Jesus’s rising popularity as a “king” and the negative repercussions that will have. He strongly criticizes Jesus for accepting his followers’s unrealistic views, and for not heeding his concerns (“Heaven On Their Minds”). While Judas still loves Jesus, he believes that Jesus is just a man, not God, and worries that Jesus’s following will be seen as a threat to the Roman Empire which would then punish both Jesus and his associates. Judas’s warning falls on deaf ears, as Jesus’s followers have their minds set on going to Jerusalem with Jesus. As they ask Jesus when they will be going to Jerusalem, Jesus tells them to stop worrying about the future, since whatever will happen is determined by God (“What’s The Buzz?”).

Recognizing that Jesus is irritated by the badgering and lack of understanding from his followers, Mary “Magdalene” (of Magdala) tries to help Jesus relax. Judas is concerned that Jesus is associating with Mary, who is presented (implicitly) as a prostitute in the musical. It seems to Judas that Jesus is contradicting his own teaching, and he worries that this apparent lack of judgment will be used against Jesus and his followers (“Strange Thing Mystifying”). Jesus tells Judas that Mary is with him (Jesus) now, and unless Judas is without sin he should not judge the character of others. Jesus then reproaches his apostles for being “shallow, thick and slow” and somewhat bitterly answers that not a single one of them cares about him. Mary Magdalene tries to assure Jesus that everything is alright while anointing him with oil (“Everything’s Alright”). Judas angrily insists that the money used to obtain the oil should have been used to help the poor instead. Jesus sadly explains that he and his followers do not have the resources to alleviate poverty and that they should be glad for the privileges they have. He claims that once his followers no longer have him, they will lose their path.
Casting out the Money Changers by Carl Bloch
Meanwhile, Caiaphas (the high priest), Annas, and other Jewish priests (who have been studying Jesus’s movements) meet to discuss Jesus and his disciples. Jesus’s growing following consists of Jews unwilling to accept the Romans as their rulers, and the priests believe that Jesus may become seen as a threat to the priesthood’s integrity and the Roman Empire. If the Romans retaliate, many Jews will suffer, even those who are not following Jesus. Caiaphas tells them they are “fools” for not seeing the inevitable consequence of Jesus’s activities. He believes there could be great bloodshed and the stakes are “frighteningly high!” For the greater good, he has to “crush him completely! So like John before him, this Jesus must die!” Annas and the other priests concur (“This Jesus Must Die”). As Jesus and his followers arrive exultantly in Jerusalem they are confronted by Caiaphas, who demands that Jesus disband them, which Jesus says would be futile and change nothing. As the crowd cheers him on, Caiaphas suddenly asks, “Hey JC, JC, won’t you die for me?” To this, Jesus visibly reacts with concern (“Hosanna”). Jesus is approached by Simon the Zealot, who suggests that Jesus lead his mob in a war against Rome and gain absolute power (“Simon Zealotes”). Jesus rejects this suggestion, stating that none of his followers understand what true power is, nor do they understand his true message (“Poor Jerusalem”).

Pontius Pilate, the governor of Judea, has had a dream, in which he meets with a Galilean (Jesus) and that he, Pilate, will receive all of the blame for the man’s violent and mournful death (“Pilate’s Dream”). Jesus arrives at the Temple in Jerusalem and finds that it has become a haven of sin and debauchery as it is being used for selling everything from weapons to prostitutes and drugs. He is furious and demands that the merchants and money changers leave (“The Temple”). Angry, disconsolate, and tired by his burden, Jesus rests and falls asleep. In a chilling nightmare, he is confronted by lepers, cripples, and beggars, all wanting to be healed. Even though he heals some, their number increases, and he is overwhelmed. Unable to solve everyone’s problems, Jesus tells the crowd to heal themselves. He awakes to find Mary Magdalene by his side. She lays him to rest (“Everything’s Alright (Reprise)”). While Jesus is asleep, Mary acknowledges that she is unconditionally in love with Jesus, unlike any man she has known before, and it frightens her (“I Don’t Know How to Love Him”)

Judas gradually becomes more and more envious of Mary; he believes she has usurped him as Jesus’s most trusted ally and that he prefers her to his Apostles. Conflicted, Judas seeks out the priests and promises to help them capture Jesus, while belaboring that he is acting with unselfish motives and that Jesus himself would approve if he knew those motives; he bids the priests not declare him damned. Caiaphas demands that Judas reveal the location of Jesus so that the authorities can apprehend him. In exchange for the information, Judas is offered money as a “fee” so that he can assuage his conscience by using the money charitably (“Damned for All Time/Blood Money”). Judas decides that it would be better to turn Jesus in before his popularity leads to the deaths of Jesus and his followers, Judas included. He reveals that on Thursday night, Jesus will be at the Garden of Gethsemane.

Act II[edit]
At what Jesus knows will be the Last Supper, he pours wine and passes bread for his apostles (“The Last Supper”). Very aware of the ordeal he faces, he is stung when the others pay little attention to him; “For all you care this wine could be my blood / For all you care this bread could be my body,” he remarks, alluding to (and anticipating) the Christian doctrine of the Eucharist. He asks them to remember him when they eat and drink; he predicts that Peter will deny him three times “in just a few hours” and that one of them will betray him. Judas, believing that Jesus already knows (“cut the dramatics, you know very well who”), admits he is the one and angrily accuses Jesus of acting recklessly and egotistically. Claiming he does not understand Jesus’s decisions, he leaves to bring the Roman soldiers.

The remaining apostles fall asleep, and Jesus retreats to the Garden of Gethsemane to pray (“Gethesemane (I Only Want To Say)”). He admits to God his doubts, fears and anger, that he is tired and has done all he can. He asks powerfully if any of it has meaning and implores God not let him suffer the horrible death that portends for him. He feels disillusioned with his quest as the Messiah, does not understand what it has achieved and wishes to give up. Receiving no answer, Jesus realizes that he cannot defy God’s will, and surrenders to God. His prayer ends with a request that God take him immediately, “before I change my mind.”
The disciples resist Jesus’s arrest, but Jesus tells them to put away their swords.[1]
Judas arrives with Roman soldiers and identifies Jesus by kissing him on the cheek (“The Arrest”). Jesus is arrested, and his apostles attempt to fight the soldiers. Jesus tells them to let the soldiers take him to Caiaphas. On the way, a mob (acting like—and sometimes represented as—modern-day news reporters) asks Jesus what he plans to do, but Jesus declines to comment. When Jesus is brought to trial before the Sanhedrin, Caiaphas asks if he is the son of God. Jesus responds: “That’s what you say, you say that I am.” This answer is affirmative according to Jewish custom, and that provides enough justification for the high priests to send Jesus to Pontius Pilate. Meanwhile, Jesus’s apostle Peter is confronted by an old man, a soldier and a maid, and Peter denies to each that he knows Jesus (“Peter’s Denial”). Mary asks Peter why he denied Jesus, and Peter responds that he had to do it in order to save himself. Mary wonders how Jesus knew that Peter would deny him three times.

Pilate asks Jesus if he is the son of God. Jesus gives the same answer that he gave Caiaphas: “that’s what you say.”[2] Since Jesus is from Galilee, Pilate says that he is not under his jurisdiction and sends him to King Herod (“Pilate and Christ”). As Jesus is dragged away, the chorus asks, where Jesus’s power has gone. The decadent and flamboyant King Herod asks Jesus to prove his divinity by performing miracles, offering to free him if he complies; but Jesus ignores him (“King Herod’s Song (Try It And See)”). Herod decides that Jesus is just another phony messiah and angrily sends him back to Pilate. The apostles and Mary Magdalene remember when they first began following Jesus, and wish that they could return to a time of peace (“Could We Start Again, Please?”)[3]

Judas is horrified upon beholding Jesus’s harsh treatment by the authorities. Feeling extreme guilt for this, and panicking that he will be seen as responsible, Judas expresses regret to the priests, fearing he will forever be remembered as a traitor. Caiaphas and Annas say that what he has done will save everyone and that he should not feel remorse for his actions before throwing him out of their temple. Left alone, recognition dawns that memories of this could haunt the rest of his life, that God chose him to be the one to betray Jesus, and that he has been used as a pawn for the “foul bloody crime!” He suffers a mental breakdown during the epiphany, cursing God for his manipulative ways, and in a final attempt to detach himself from his destiny, he commits suicide by hanging himself from a tree (“Judas’s Death”).

At Jesus’s trial Pilate asks the crowd if they would crucify Jesus, their king, and they declare: “We have no king but Caesar!” [4] Pilate remembers the dream he had about the crowd and the unjust execution of Jesus. Pilate tells the crowd that, while Jesus should be imprisoned, he does not deserve to die. Pilate demands that the crowd give him a reason to condemn Jesus, and the crowd breaks into a pep rally-style cheer about how Jesus is a blasphemer and has defied Rome. After revealing Jesus as nothing more than a pathetic human being (“Behold the man!”), Pilate calls the crowd hypocrites, as he knows they hate Roman rule. He attempts to satisfy their bloodlust by having Jesus whipped, counting thirty-nine bloody strokes (“Trial Before Pilate, (Including The Thirty-Nine Lashes)”). Pilate, clearly disturbed by the whole ordeal, pleads with Jesus to defend himself; but Jesus says weakly that everything has been determined, by God, and Pilate cannot change it. The crowd still screams for Jesus to be crucified, and Pilate recalls his duty to keep the peace. He reluctantly agrees to crucify Jesus to keep the crowd from getting violent. Pilate then washes his hands of Jesus’ death: “I wash my hands of your demolition! Die if you want to, you–innocent puppet….”

As Jesus prepares to be crucified, he is mocked by a vision of Judas. Judas questions why Jesus chose to arrive in the manner and time that he did, and if what happened to him was really part of a divine plan, but Jesus does not say (“Superstar”). As Jesus is nailed to the cross some productions opt to show Judas suffering a stigmata-like effect, indicating that he is paying for his sin (“The Crucifixion”). After reciting his final words and commending his spirit to God, Jesus slowly dies on the cross, his fate coming full circle. The final number shows the Apostles, Mary and Judas mourning the death of their fallen savior, reflecting on the impact he has had on their lives (“John Nineteen: Forty-One”).[5]

Principal roles[edit]
Character Voice type Description
Jesus Christ tenor (A2–G5) Title role, leader of the twelve disciples, a man, called the “Son of God” and the “King of the Jews.”
Judas Iscariot tenor (D3–D5) One of the twelve apostles of Jesus; concerned for the poor and the consequences of Jesus’s fame.
Mary Magdalene mezzo-soprano (F3–E♭5) A female follower of Jesus who finds herself falling in love with him.
Pontius Pilate baritenor (A2–B4) Governor of Judea who foresees the events of Jesus’s crucifixion from beginning to aftermath in a dream and finds himself being presented with that very situation.
Caiaphas bass (C♯2–F4) One of the main antagonists of the show. High priest who sees Jesus as a threat to the nation.
Annas countertenor (G2–D5)
One of the main antagonists of the show. Fellow priest at the side of Caiaphas who is persuaded by Caiaphas into seeing Jesus as a threat.
Peter baritone (A2–G4) One of Jesus’s twelve apostles; denies Jesus three times upon the night of Jesus’s arrest to save himself.
Simon Zealotes tenor (G3–B4) One of Jesus’s twelve apostles; urges Jesus to lead his followers into battle against the Romans.
King Herod tenor (C♯3–G4) The King of Galilee; Jesus is brought to him for judgment after first being taken to Pilate.
Musical numbers[edit]
Act One

“Overture” – Orchestra
“Heaven on Their Minds” – Judas
“What’s the Buzz” / “Strange Thing Mystifying” – Apostles, Jesus, Mary, Judas, Peter, Woman
“Everything’s Alright” – Mary, Women, Judas, Jesus, Apostles
“This Jesus Must Die” – Annas, Caiaphas, Apostles, Priests
“Hosanna” – Apostles, Caiaphas, Jesus, Ensemble
“Simon Zealotes” / “Poor Jerusalem” – Apostles, Simon, Jesus, Ensemble
“Pilate’s Dream” – Pilate
“The Temple” – Ensemble, Jesus
“Everything’s Alright (reprise)” – Mary, Jesus
“I Don’t Know How to Love Him” – Mary
“Damned For All Time” / “Blood Money” – Judas, Annas, Caiaphas, Chorus
Act Two

“The Last Supper” – Apostles, Jesus, Judas
“Gethsemane (I Only Want to Say)” – Jesus
“The Arrest” – Judas, Jesus, Peter, Apostles, Ensemble, Annas, Caiaphas
“Peter’s Denial” – Maid by the Fire, Peter, Soldier, Old Man, Mary
“Pilate and Christ” – Pilate, Annas, Jesus, Ensemble
“King Herod’s Song (Try it and See)” – Herod, Dancers
“Could We Start Again Please?” – Mary, Apostles, Peter
“Judas’ Death” – Judas, Annas, Caiaphas, Chorus
“Trial Before Pilate (Including the Thirty-Nine Lashes)” – Pilate, Caiaphas, Annas, Jesus, Ensemble
“Superstar” – Judas, Soul Sisters, Angels
“The Crucifixion” – Jesus, Ensemble
“John Nineteen: Forty-One” – Orchestra
From album to Broadway[edit]
Main article: Jesus Christ Superstar (album)

The UK album cover for the 1970 release of Jesus Christ Superstar.
The musical was first produced as an album before being staged on Broadway and later in London’s West End. On the original album, the part of Jesus was sung by Ian Gillan, the lead singer of Deep Purple who later also worked with Black Sabbath and others, and that of Judas by Murray Head. The future Gary Glitter had a one-liner as a priest and Michael d’Abo appeared as King Herod. The title song, “Superstar”, sung by Judas (Murray Head), and “I Don’t Know How to Love Him”, sung by Mary Magdalene (Yvonne Elliman) about her relationship with Jesus, were both big hits.

The original album has a rock flavour that is very different from Lloyd Webber’s later work. This is in part due to the emotive singing of Murray Head and Ian Gillan and the playing of well-known rock session musicians such as guitarists Neil Hubbard and Chris Spedding, bassist Alan Spenner and drummer Bruce Rowland. The musical arrangements are often multi-layered, featuring rock and classical elements, and contain many abruptly shifting dynamics and time signatures.

Early unauthorized community productions[edit]
On April 4, 1971, the musical, known to aficionados of rock from its original album, was presented for the first time in a live, concert performance by the Ravenswood Rock Group, sponsored by the Bel Canto Opera at New York’s Madison Avenue Baptist Church.[6]

In June 1971, the first U.S. staged version was performed by students at Southold High School in Southold, New York.[7] However, other unauthorized productions were also going on at the time, eliciting lawsuits by the authors which eventually resulted in the shutting-down of several hundred productions before the official premiere (and became a benchmark in copyright law).[8]

First authorized concert productions[edit]
On July 11, 1971, the first authorized American concert took place in front of an audience of 13,000 people at Pittsburgh, Pennsylvania’s Civic Arena with Jeff Fenholt singing the role of Jesus, Carl Anderson as Judas, and Yvonne Elliman as Mary Magdalene.[9]

Original Broadway production[edit]
The show opened on Broadway on October 12, 1971, directed by Tom O’Horgan, at the Mark Hellinger Theatre. The Broadway production received mixed reviews, as reviewers from The New York Times deemed it to be a heartless over-hyped production[citation needed]; Andrew Lloyd Webber has also criticized it harshly.[10] The show starred Jeff Fenholt as Jesus, Ben Vereen as Judas and Bob Bingham as Caiaphas. Barry Dennen, the Pilate on the original album had been living and working in London when he recorded the album. He was back in the States in time to play Pilate on Broadway. Yvonne Elliman, the original Mary Magdalene, was also a part of the cast. Kurt Yaghjian sang Annas. Ted Neeley (who was cast as a Christ understudy), Samuel E. Wright, and Anita Morris also appeared in the cast. Carl Anderson stepped into the role of Judas when Vereen fell ill, and the two performers later took turns playing the role. The show closed on June 30, 1973 after 711 performances.

Controversy[edit]
The Broadway show and subsequent productions were condemned by some religious groups. Tim Rice was quoted as saying “It happens that we don’t see Christ as God but simply the right man at the right time at the right place.”[11][12] Some Christians consider these comments to be blasphemous, the character of Judas too sympathetic and some of his criticisms of Jesus offensive.[13] At the same time, some Jews claimed that it bolstered the antisemitic belief that the Jews are responsible for Jesus’ death by showing most of the villains as Jewish (Caiaphas and the other priests, Herod) and showing the crowd in Jerusalem calling for the crucifixion.[14][15] The musical was banned in South Africa for being “irreligious”.[16]

Other 1970s productions[edit]
Robert Stigwood launched two road touring companies in 1971 to cover North America, one company featured rock band Travis Justis, Jack Cruppi on guitar, Sal Guglielmion bass, David Sansone on keyboards, John Capadonna on drums and Peter Fuino as the saxophone featured soloist. The cast featured leads Robert Corff as Jesus, Edie Walker as Mary, Patrick Jude as Judas, Jim Turner as Pilate, and Reggie Mack as Herod.

Jesus Christ Superstar was performed as an oratorio version in a series of performances in various university clubs in 1971 in Hungary. The performances in Budapest took place even before the Broadway premiere. The Budapest version was based on the original studio version, and the band and orchestra parts were transcribed to a five piece rock band. The group Korong played the music, some of its singers sang the roles, completed with other pop singers. The performances were initiated by Korong’s lyrics writer, Tibor Miklós, who adapted the words into Hungarian. After a few enormously successful performances in Budapest’s university clubs, however, the piece was banned for some time.
Paul Nicholas in Jesus Christ Superstar
Superstar opened at the Palace Theatre in London in 1972, starring Paul Nicholas as Jesus, Stephen Tate as Judas and Dana Gillespie as Mary. It was directed by Australian Jim Sharman. This production was much more successful, running for eight years and becoming the United Kingdom’s longest-running musical at the time (it was later surpassed by other works but remains the seventeenth longest-running). During its 20th anniversary, the production featured Paul Nicholas from the original cast as Jesus.

In Sweden, the show began a five-day run at The Scandinavium in Göteborg playing to 74,000 people (a record at the time). Starring as Mary Magdalene was pop star Agnetha Fältskog (in her pre-ABBA days) The première was 18 February 1972. See Jesus Christ Superstar (Swedish version 1972).

On 16 March 1972 an oratario version was performed at Memorial Drive Park in Adelaide, South Australia as part of the Adelaide Festival of the Arts.[17] The show had only a simple stage and the singers had very little props to work with. This was a precursor to the Sydney production (see next entry).

In May 1972 the original Australian production opened at the Capitol Theatre, Sydney, later moving to the Palais Theatre in Melbourne.[18] Directed by Jim Sharman, the cast featured Trevor White (who dubbed Rocky’s voice in the Sharman-directed The Rocky Horror Picture Show) as Jesus, Jon English as Judas, and Michelle Fawdon (1972–1973) and Marcia Hines (1973–1974) as Mary Magdalene (Hines was the first black woman to play this role); other cast members included Reg Livermore, John Paul Young, Stevie Wright, and Graham Russell and Russell Hitchcock, who met during the production and subsequently formed the internationally successful band Air Supply. The original Australian production ran until February 1974.

In 1973, the show opened in Paris at the Théâtre de Chaillot. It had been adapted to French by Pierre Delanoë, who had already adapted Godspell two years before. The title role was sung by Daniel Beretta (later the French voice of Arnold Schwarzenegger) and Maria Magdalena by Anne-Marie David (winner of the Eurovision Song Contest the same year). The critics were unimpressed and the production stopped after 30 shows.

In 1974, Jesus Christ Superstar was produced in Spanish for the first time in Mexico with the title “Jesucristo Super Estrella”. Rock singer Julissa appeared as Mary Magdalen. The music was played by Progressive rock band Zig Zag. Later that year the play was staged in Peru by a group of fans, who rehearsed throughout the summer of 1974 under the direction of Lalo Lopez Therese, director, and pioneer of rock opera in Peru. Many young people joined the production: actors, dancers, and members of the National Symphony Orchestra under the direction of Raymond Krammer, Catholic University Choir, plus a live rock band, Tripping Foxter. Peru was the first South American country to present the musical.

In April, 1974, Jesus Christ Superstar was staged in Singapore by students at the Singapore American School, under the guidance of musical director Gordon Whiting and dramatic director Douglas McKirahan. Dan McDonald played Jesus, Gunnar Teilmann III played Judas, and Jan Howard played Mary Magdalene, leading a cast of ninety. It ran for six performances at Ulu Pandan theatre.[19]

In 1976, Jesus Christ Superstar began its first U.S. national tour with a company managed by Laura Shapiro Kramer. The tour continued until 1980. In 1977, the musical was performed at the first annual Illinois High School Theater Festival. Jesus was portrayed, in this rendition, by an African-American woman.

In 1977 Jesus Christ Superstar its first Broadway Revival opening on November 23, 1977 – February 12, 1978 Produced by Hal Zeiger and Mammoth Productions it was directed by William Daniel Grey, Choreography by Kelly Carrol and starred William Daniel Grey as Jesus, Patrick Jude as Judas, and Barbara Niles as Mary Magdalene. [20]

In the late 1970s, two regional productions premiered in California, both under the auspices of the California Youth Theatre organization. The first production featured Ted Neeley, Carl Anderson, and Yvonne Elliman reprising their respective stage and movie roles of Jesus, Judas, and Mary Magdalene; the second production again featured both Neeley and Anderson.

1980s productions[edit]
Emilio de Soto directed the English-language South American premiere of Jesus Christ Superstar in Venezuela in 1981, with 163 actors, an orchestra of 37 musicians, and a live rock band.

From 1982 to 1984, an Australian production toured both Australia and South-East Asia, this time directed by Trevor White (who was also reprising his role of Jesus). The cast featured Doug Parkinson as Judas and Marcia Hines (reprising her role as Mary Magdalene); other cast members included Raymond Duparc as Pontius Pilate and Michael-John Hurney as Peter.
This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2010)
In 1986 the musical director Anthony Von Eckstein and the singer and director Pearl Heart (former Janis Joplin stand in for Kosmic Blues band featuring Sam Andrews and Snooky Flowers formerly of Big Brother and the Holding Company and Kosmic Blues Band respectively.)[citation needed] began collaboration for shows via the Milbrae Theater. The production would not be fully realized until Von Eckstein finally found the right singers he needed for this formidable production. In the mid-late 1980s, Von Eckstein had been working at a San Francisco rock club called The Underground where he and Michael Krishe (technical director) had been booking local rock bands.[original research?] It was at that nightclub in 1988 that Jesus (Danny Knop), Judas (Freeman Young), Mary( Jennifer Courtney), and Annas (Kevin Mead) would all be discovered.[original research?] With the a strong trilogy for the core principals of Superstar, Pearl Heart was then able to find investors interested in backing the show for a major theatre production. For various reasons, after three months the investors withdrew from the project.[original research?]

With nowhere else to go Von Eckstein who had previously already booked a dress rehearsal at the DNA Club followed through with the performance with the cast and orchestra. From there the production mounted on a “in concert” tour of Bay Area clubs and concert halls under the name of “The Superstar Band”, starting in the middle of 1989. The final performances were held at the On Broadway Theater in December 1990 and again at the DNA Lounge in 1991.

1990s productions[edit]
In 1990, Jesus Christ Superstar was played at Det Norske Teatret in Oslo, Norway (in Norwegian).

The North American touring revival of Superstar in 1992, titled the AD Anniversary Tour, starred Ted Neeley and Carl Anderson reprising their respective 1973 film roles as Jesus and Judas and receiving positive reviews for their performances. This production also starred both Dennis DeYoung of Styx and James O’Neil (Founding Artistic Director of the Rubicon Theatre Company in Ventura, California) as Pontius Pilate, and Syreeta and Irene Cara as Mary Magdalene. Originally expected to run for three to four months, the tour ended up running for five years. Later casting of this tour included the young Jason Raize as Pontius Pilate, Christine Rea as Mary, David Burnham as Peter, and Simone (daughter of Nina Simone) as the Maid by the Fire (and understudy for Mary).

A 1992 Australian concert cast – starring John Farnham as Jesus, Jon Stevens as Judas, Kate Ceberano as Mary Magdalene and Angry Anderson as King Herod – was created to critical acclaim. The Australian production was produced by Harry M. Miller Garry Van Egmond and International Management Group. In 1994, a New Zealand production (also produced by Harry M. Miller Garry Van Egmond and International Management Group) saw changes in production style, such as the rock guitar solo introducing the show played by a guitarist on a spotlighted and elevated platform and costuming which included a complete lack of sandals. Jesus was played by Darryl Lovegrove, Caiaphas by Frankie Stevens, elder brother of Jon Stevens (the two played together on stage when the production toured Australia, with Stevens in his previous role as Judas); and Judas by the stage, television and cinema star Jay Laga’aia. Red laser was used to represent the whip during the scourging; similarly lasers were used for the wounds of the crucifixion. The show closed with an expanding cone of green laser, centred on Jesus’ crucified corpse, shining through mist to eventually envelop the whole audience. It was the highest selling album in Australia in 1992.[21]

For information about the ’92 Australian Cast album, view Australia ’92

Also in 1994, a stage version titled Jesus Christ Superstar: A Resurrection was produced and performed in Atlanta, Austin and Seattle. This version featured many musicians from the Atlanta alternative scene, including the Indigo Girls members Amy Ray as Jesus and Emily Saliers as Mary Magdalene, and fellow guitarist Michael Lorant as Judas.

In 1996, Superstar was revived in London. Directed by Gale Edwards, this version of Superstar was updated to appeal to a new generation of fans. It starred Steve Balsamo and Zubin Varla as Jesus and Judas, and Joanna Ampil as Mary Magdalene, allegedly on the request of Lloyd Webber himself, and was released as an album as Jesus Christ Superstar (1996 London Cast). It featured Alice Cooper as King Herod. Referred to as the “Lyceum Production,” it was relatively successful. This eventually led Edwards to restage the show for a UK tour, followed by a video starring Glenn Carter as Jesus and Jérôme Pradon as Judas. This “new” interpretation of the show was revived on Broadway in 2000 again starring Carter, but a last minute change made Tony Vincent, who had played Simon in the video, step into the role of Judas. It opened to mixed reviews and closed quickly. It was more popular in its UK/European run; it opened in November 1996 and closed in March 1998.

A concert version was performed on November 15–16, 1998 to launch the Rubicon Theatre Company in Ventura, California. Three performances were given, starring Ted Neeley, Carl Anderson and the company from the AD Anniversary Tour. All three shows were sold out.

2000s productions[edit]
A new Broadway production opened at the Ford Center for the Performing Arts in April 2000 and ran for 161 performances.[22]

In 2002, a national tour was begun with former Skid Row singer Sebastian Bach as Jesus and Carl Anderson once again as Judas. Bach received mixed reviews while Anderson was again praised. In April 2003, following a disagreement with the director, Bach walked out on the cast and was replaced with Broadway star Eric Kunze. Carl Anderson continued on the tour for three more months, but eventually left the show after being diagnosed with leukemia and died in 2004. He was replaced by Lawrence Clayton, who had appeared as Simon and understudied the part of Judas in the previous national tour. The tour closed shortly after Anderson’s departure.

Also in October 2002, a production of Jesus Christ Superstar was taken to Barbados to celebrate Queen Elizabeth II’s Golden Jubilee. The show starred Steve Balsamo, once again as Jesus, Miles Guerrini as Judas and Yildiz Hussein as Mary Magdalene, as well as several young performers from Britain. The production took place in the Sir Garfield Sobers Sports Complex in St Michael.

In August 2004 a new national UK tour began, directed by Bill Kenwright. Originally scheduled to end in December, the tour’s success resulted in a longer run and it continued to August 2005. Glenn Carter reprised his role as Jesus, with British pop singer James Fox as Judas and Emma Dears as Mary Magdalene.

Later that same year, a London production with an international cast performed sell-out tours of Scandinavia. Most of the ensemble cast was made up of performers from the 2001 film directed by Gale Edwards. Principal roles were played by Australian singer Peter Murphy (Jesus), American actress Kristen Cummings (Mary), English actor Jon Boydon née Stokes (Judas), and French actor and singer Jérôme Pradon (King Herod) who had previously played Judas in the Gale Edwards film. The production almost did not happen, as a prominent West End star had to withdraw from the production unexpectedly. A last minute replacement was found in the veteran Australian actor Michael-John Hurney (Pontius Pilate).

A live-in-concert, one-night only, performance of Jesus Christ Superstar took place at the Ricardo Montalban Theatre in Los Angeles on 13 August 2006, reuniting Ted Neeley, Yvonne Elliman and Barry Dennen from the 1973 film, Broadway and Los Angeles productions of the show, as well as Ben Vereen (the original Judas on Broadway), Clint Holmes as Simon and Jack Black as Herod. The performance also featured Larry Friedman as Annas, Chris Carey as Caiaphas, and Chuck DiMaria as one of the priests (all three were featured performers in the AD Anniversary Tour between 1993 and 1997), as well as the Agape Choir. The performance benefitted YouTHeatre-America! and The Ricardo Montalban Theatre.

In 2006, a tour (originally billed as “The Ted Neeley Farewell Tour”, but was renamed as the new “A.D. Tour”) starring Ted Neeley, reprising his role as Jesus, began in September and played almost five years to date. The tour was slated to run through 2007, but audience and critical reception for the show was so great that it booked through early May 2010. Corey Glover, the lead vocalist of rock band Living Colour, made his national stage debut as Judas. Glover left the show in December 2008 to rejoin Living Colour. Actor James Delisco replaced Glover as Judas through 2009; American Idol season 8 Top 50 finalist John Twiford replaced Delisco for the fourth and final leg of the tour.

Since 2004, a selection of Chilean heavy metal musicians have developed the first heavy metal version of the full opus, named Jesucristo Metalstar (Jesus Christ Metalstar). Annually they perform this version in Santiago under the leading of Rodrigo Galaz as Jesus and Ives Gulle as Judas. The show has received excellent critics from the local press.[23]

In Boston, frontman Gary Cherone of the bands Extreme, Van Halen and Tribe of Judah portrayed Jesus in productions in 1994, 1996 and 2003. He also portrayed Judas in 2000.

2010s productions[edit]
On March 25–27, 2010, the Canadian-born electronic musician Peaches performed a one-woman version of Jesus Christ Superstar at the Hebbel am Ufer Theater in Berlin. Pianist and rapper Chilly Gonzales accompanied her on piano. She also performed at the Kampnagel Theater in Hamburg on May 4, and at the Hebbel Theater from May 31 to June 2.[24] Artforum stated in their review, “Not only did Peaches set it off, she managed to surprise us all by showing off an expansive vocal range, a musician’s natural sensitivity to the dynamics of Andrew Lloyd Webber’s score, and an emotive prowess that is rarely if ever displayed in her own, less holy, music.”[25]

A new production of Jesus Christ Superstar was mounted at the Stratford Shakespeare Festival, in Stratford, Ontario, as part of its 2011 season. Performances began on May 16, 2011, and ran until November 6. The show was directed by Des McAnuff, director of the original Broadway productions of Jersey Boys and Big River and of the 1993 Broadway production of Tommy. Jesus was played by Paul Nolan, Judas by Josh Young, Mary Magdalene by Chilina Kennedy, Pontius Pilate by Brent Carver, Martha by Melissa O’Neil, and King Herod by Bruce Dow. On July 18, 2011, it was announced that the production will move to La Jolla Playhouse and play from November 18 until December 31. On October 4, 2011 it was announced that this production would transfer to the Neil Simon Theatre on Broadway, with previews beginning March 1, 2012, and an official opening on March 22, 2012, with Tom Hewitt taking over the role of Pilate.[26] Some reviews were quite positive,[27] but theatre review aggregator Curtain Critic gave the production a middling score of 58 out of 100.[28] The revival was nominated for two Tony Awards, one for Best Revival, and another for Best Featured Actor in a Musical for Josh Young’s portrayal of Judas.[29] Neither award was won, but Young did win the Theatre World Award for his portrayal. The revival closed on July 1, 2012, after 116 performances and 24 previews.[30]

On May 16, 2012, Andrew Lloyd Webber launched an ITV primetime show called Superstar; it gave the UK public the chance to decide who would play the starring role of Jesus in an upcoming arena tour of Jesus Christ Superstar. Finalist Ben Forster was chosen as Jesus for the tour.[31] The arena tour started on 21 September 2012, and also starred comedian Tim Minchin as Judas Iscariot, former Spice Girl Melanie C as Mary Magdalene and BBC Radio 1 DJ Chris Moyles as King Herod.[32] Tickets for most venues went on sale on 18 May 2012. The tour resumed in March 2013 in the UK, Australia, and the USA. Australian TV personality Andrew O’Keefe played the role of King Herod for the Australian leg of the tour, with New Zealand born Jon Stevens playing Pilate.[33] Stevens, former singer for Australian band Noiseworks, played the role of Judas in the record breaking Australian Arena tour in 1992.[34] The Australian leg of the tour commenced in Perth on 31 May 2013.[35] The North American tour was to commence on June 9, 2014, starting in New Orleans, with 51 stops including Toronto, Chicago, Los Angeles, New York City, and more before ending in Philadelphia on August 16, 2014. This leg of the tour would have featured Ben Forster reprising his role as Jesus, Brandon Boyd of rock band Incubus as Judas, Destiny’s Child singer Michelle Williams as Mary Magdalene, former ‘N Sync singer JC Chasez as Pilate, and former Sex Pistols and Public Image Ltd lead singer John Lydon as King Herod.[36] On 30 May 2014 it was announced that the entire North American leg of the stadium tour was to be cancelled; though no reason was given, it was mostly blamed on poor ticket sales.[37][38]

Other international productions[edit]

2011 production of Jesus Christ Superstar at The Doon School, India

2013 production in Rotterdam, Netherlands
The musical has been produced in Ireland, Brazil, Hungary, India, New Zealand, Italy, France, Mexico, Chile, Bulgaria, Norway, Denmark, Sweden, Finland, Iceland, Russia, Poland, Czech Republic, Greece, Australia, The Philippines, South Africa, Panama, Colombia (Misi Group), Croatia (Theater Komedija), Bolivia (where it was also released as a TV movie), Portugal and many more. Two notable Jesuses were Takeshi Kaga of Iron Chef fame in the 1976 Japanese version, and the singer Camilo Sesto in the 1975 Spanish version/adaptation by Jaime Azpilicueta called Jesucristo Súperstar with Ángela Carrasco as Mary Magdalene and Teddy Bautista as Judas. Bautista also did the musical arrangements on this version, conducted the band and played synthesizers on the recordings. This troupe performed in Madrid with great success and no less controversy, as these were the latter days of Spanish dictator Francisco Franco. Another notable Mary Magdalene was the Mexican singer Rocío Banquells in a 1981 production in Mexico. A remake of Spanish Azpilicueta version was made again in 1985 with Pablo Abraira as Jesus, Estibaliz as Mary Magdalene, and Pedro Ruy Blas as Judas. This time, Teddy Bautista also did the musical arrangements, which were a small adaptation of the full score, performed mainly on keyboards. This version also toured Spain and Latin America, but without succeeding over previous Camilo Sesto’s famed version.

The Czech version was created in 1993 and 1994. It premiered on 22 July 1994 in Prague Spirála Theatre. The production was successful, running until 1998 with 1288 performances and more than 850 000 spectators.[39]

In the 2000s, a Venezuelan production ran for two years (2006–2008) with Johnny Sigal as Jesus, Karina as Mary Magdalene and Luke Grande as Judas, directed by Michel Hausmann and Salomon Lerner in charge of arranging and conducting the band. Recent international productions included a 2007–2009 Spanish production (Stage Entertainment) starring Miquel Fernández as Jesus (later replaced by Gerónimo Rauch), Ignasi Vidal as Judas and Lorena Calero as Mary Magdalene; a 2007–2008 Italian touring production (Compagnia della Rancia) in Italian; a 2008–2009 Swedish-language production featured Ola Salo of The Ark at the Malmö Opera in Malmö, Sweden; and a 2009–2010 Norwegian production featuring rock singer Hans Erik Dyvik Husby at the Det Norske Teatret in Oslo.

In 2010, Australian audiences were treated to two versions featuring the same actor portraying the title role; The Gilbert & Sullivan Society of SA, Inc. (South Australia) presented a modernized version at Her Majesty’s Theatre in Adelaide, South Australia from October until early November. Featuring former “Ten Tenors” star Luke Kennedy as Jesus, Danny Lopresto as Judas, Sarah Lloyde as Mary, Joel Valenti as Pilate and Kent Green as Herod, the show was directed by director David Lampard with musical director Ross Curtis and associate director Sharon Angrove.

A 2010 production in Brisbane, Australia, was presented by Harvest Rain Theatre Company and directed by Tim O’Connor and featuring Luke Kennedy as Jesus, Naomi Price as Mary, Tod Strike as Judas, Lionel Theunissen as Pilate and Steven Tandy in a special guest appearance as Herod. The production returned to QPAC in February 2011 with Paul Watson (ex Jersey Boys Australia original cast member) taking over the role of Judas.

A new Brazilian production opened in 2014, in São Paulo, produced by Time For Fun and directed by Jorge Takla. Leading actors: Igor Rickli as Jesus, Alirio Netto as Judas, Negra Li as Mary Magdalene, Fred Silveira as Pilatos and Wellington Nogueira as Herod – Featuring Julio Mancini, Rogerio Guedes, Thiago Lemmos, Marcelo Vasquez and Beto Sargentelli. [40]

A production in Lima, Peru opened in 2014 at the Sarita Colonia prison as part of a rehabilitation program for inmates.[41] Eighty prisoners worked on the production, which was directed by inmate Freddy Battifora, who also played the role of Jesus.[42] The Catholic Church approved of the production.[42]

Other recordings and broadcasts[edit]
The Afghan Whigs covered “The Temple” on their 1992 album Congregation.

In 1972 the main theme of the Ouverture of Jesus Christ Superstar (the same theme on which “39 Lashes” is based) was part of a medley (song 05: Bamboozle Song – Ouverture) on the Netherland band Livin’ Blues’s album “Bamboozle”.

In 1994, a studio recording under the name of Jesus Christ Superstar: A Resurrection was released and starred various artists including the Indigo Girls. A video recording of their performance at SXSW in Austin was released as well but went out of print after only a few months. Bootleg copies still remain.

In a 1996 radio production for BBC Radio 2, Jesus was played by Spandau Ballet’s Tony Hadley, Judas by The Who’s Roger Daltrey, and Mary Magdalene by Frances Ruffelle.

In 1996, Slovenian avant-garde industrial rock band Laibach covered Jesus Christ Superstar on an album of that name.

In 1997, the band Bigtop released a cover of “Pilate and Christ” (under the title “The 39 Lashes”) on their album On the Rise. The track also included some sampled dialog by Samuel L. Jackson from the film Pulp Fiction.

In 1999, Stoner/Doom Metal Band Acid King released a cover of “Pilate and Christ” (under the title “The 39 Lashes”) on their album Busse Woods.

On 1 January 2000, an Italian performance of Jesus Christ Superstar, directed by Arturo Villone (it), was broadcast on Rai Radio 2. The cast starred Paride Acacia as Jesus, Egidio La Gioia as Judas and Olivia Cinquemani as Mary. Carl Anderson appeared on this recording as well, singing the song “Superstar”. In 2000 a national tour began which was directed by Carl Anderson and starred many of the same cast members from the radio broadcast.

In 2003 OmOm Music released a mostly instrumental surf-rock version entiled “Jesus Christ Surferstar”.

In 2005 the first Dutch national tour of Jesus Christ Superstar began in the Netherlands. Produced by Joop van den Ende the production starred Dieter Troubleyn as Jesus, Martin van der Starre as Judas and Casey Francisco as Mary. Jamai Loman who previously won the Dutch version of Idols played Simon. The tour ran from October 21, 2005, through July 9, 2006.

In February 2006, progressive metal band Vanden Plas covered “Gethsemane” as a bonus track on their album Christ 0

In summer 2007 Anastacia opened the medley section of the Concert for Diana with a rendition of Superstar, backed by a gospel chorus.[43]

In November 2007 the band Queensrÿche released “Heaven on Their Minds” on the album Take Cover. Queensrÿche guitarist Mike Stone states in the liner notes “It’s getting hot in the kitchen, and Judas can’t take the heat. This is one of my favorite songs from J.C. Superstar. I have always wanted to hear a rocked-up version of this tune…and now I can!”

On 22 April 2008, the song “Superstar” was performed on American Idol by contestant Carly Smithson, before being eliminated the following day.

In February 2013, the song “I Don’t Know How to Love Him” was covered on Glee by Jenna Ushkowitz’s character.

Films[edit]
Main article: Jesus Christ Superstar (film)
A film adaptation of Jesus Christ Superstar was released in 1973, and was the eighth highest-grossing film of that year. The film, directed by Norman Jewison, was shot in Israel and other Middle Eastern locations. Ted Neeley and Carl Anderson were both nominated for an Golden Globe Award for Best Actor – Motion Picture Musical or Comedy for their portrayals of Jesus and Judas, respectively, and Yvonne Elliman was nominated for an Golden Globe Award for Best Actress – Motion Picture Musical or Comedy for her portrayal of Mary Magdalene. Bob Bingham reprised the role of Caiaphas, having played the part in the original Broadway production. Barry Dennen (Pontius Pilate) and Yvonne Elliman (Mary Magdalene) were the only performers who remained from both the original recording and Broadway cast. Though it attracted criticism from some religious groups, the film was generally well received.[citation needed] A new song, called “Then We Are Decided” and phrased as a dialogue between Caiaphas and Annas, was written and composed for this adaptation. However, “Then We Are Decided” was not used in the Broadway productions.

A second film adaptation was released in 2000, starring Glenn Carter as Jesus, Jérôme Pradon as Judas, Renee Castle as Mary Magdalene and Rik Mayall as Herod. The film was directed by Gale Edwards and Nick Morris. It won an Emmy in 2001 for Best Performing Arts film. The style of the film is more like the stage version than the location-based 1973 adaptation and used many of the ideas from the tour from around that time. Several members of the film’s cast, including Carter, later went on to the Broadway production after shooting the film.

A live recording of the 2012 arena tour was announced. It was to be shown in U. S. cinemas as a one week special, but was canceled due to unforeseen circumstances the day the performance was to take place. It was shown in Australian cinemas in November 2012. A DVD and Blu-ray copy of the film will be released in the UK on November 19. DVD will be region 2 but Blu-ray will work in all regions.[44] An international release of the arena tour DVD was made early 2013.[45]

Jesus Christ Superstar in Arena con Ted Neeley il 12 ottobre
L’attore che fu Gesù nel 1973, avrà accanto Simona Molinari, Pau dei Negrita e Shel Shapiro. Il 1 giugno sarà tra i protagonisti del galà della Clerici su Rai1

Ted Neeley nel ruolo di Gesù in Jesus Christ Superstar del 1973
Ted Neeley nel ruolo di Gesù in Jesus Christ Superstar del 1973
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A quarant’anni dal successo cinematografico, la grandiosa opera rock Jesus Christ Superstar andrà in scena all’Arena di Verona il 12 ottobre.
Lo annuncerà ufficialmente lo stesso protagonista di allora, Ted Neeley, quando domenica prossima sarà ospite al Vinitaly. L’attore e cantante parteciperà a due eventi in Arena, entrambi promossi da ArenaExtra: il 1 giugno a Arena di Verona 2014. Lo spettacolo sta per cominciare, condotto da Antonella Clerici per Rai1, e il 12 ottobre, al tramonto del sole, a Jesus Christ Superstar – Celebration Day.
Era il 1973 quando il mondo, per la prima volta, ascoltò la più grande opera rock di tutti i tempi Jesus Christ Superstar, composta da Andrew Lloyd Webber e Tim Rice. Dall’opera venne tratto un film, per la regia di Norman Jewinson, che ebbe successo planetario e diede ai protagonisti fama leggendaria. In Italia uscì nel 1974, creando polemiche e scompiglio nelle città dove venne proiettato. Nel 2014 celebriamo i 40 anni da quello storico evento.
Ted Neeley, Gesù del film, nella serata del 1 giugno canterà uno dei brani più famosi dell’opera Gethsemane (I only want to say). I biglietti per questa serata sono già in prevendita sul sito www.geticket.it, info: 045.8064685.
Nella rappresentazione dell’opera con un allestimento speciale, di domenica 12 ottobre, sul palco con Ted Neeley, eccezionalmente, nel ruolo di Pontius Pilate sarà Pau dei Negrita, nel ruolo di Caiaphas avremo Shel Shapiro, mentre Simona Molinari sarà Mary Magdalene.
La prevendita per questo evento avrà inizio martedì 6 maggio alle 10,30.
JESUS CHRIST SUPERSTAR fu composto da Andrew Lloyd Webber con testi di Tim Rice. Andò in scena come musical a Broadway il 12 ottobre 1971. La storia si ispira alle vicende dell’ultima settimana della vita di Gesù (dall’ingresso a Gerusalemme, fino al processo, alla condanna a morte e alla crocifissione) narrate dal punto di vista di Giuda Iscariota. Continuò le repliche per 18 mesi. La versione inglese rimase in scena nel West End londinese per 8 anni. Intanto nell’agosto 1973 uscì il film, diretto da Norman Jewison, interamente cantato, che ebbe subito un enorme successo e candidò Ted Neeley e Carl Anderson (Gesù e Giuda) ai Golden Globe. Tra i protagonisti del film anche Yvonne Elliman, nel ruolo di Maria Maddalena, che cantava anche nel disco del 1970. In Italia il film uscì nel 1974.
La storia vede gli ultimi giorni di Gesù messi in scena da un gruppo di hippy. Gesù è molto più umano che divino e non compie miracoli, Giuda non è un traditore ma è vittima delle circostanze, Maria Maddalena prova un amore che non viene corrisposto.
TED NEELEY, classe 1943, faceva il musicista quando ottenne la parte principale nel musical Hair, a Broadway, nel 1969. Il regista Tom O’Horgan lo chiamò anche per Jesus Christ Superstar, per il ruolo di Giuda, che fu invece assegnato ad un altro e lui fece il sostituto per quello di Gesù. Sia Neeley che Anderson (che era sostituto per Giuda), furono protagonisti nella messinscena di Los Angeles e il successo li portò ad essere scritturati per il film.